Portfolio by Ahmad Ahmadalkhorasani

PORTFOLIO

DESIGN By A.Ahmadalkhorasani

When I was a child I invented a game that I played, during the time that I came back home from school, I closed my eyes and tried to be courageous enough to continue my way without looking toward the way. After a few steps I opened my eyes because I was afraid. Every time I tried to overcome my fear, and I tried to confront with a longer path without opening my eyes; it was my joy. Nowadays as a designer I recreate this feeling in a different way. I cannot predict what will be the result of my design, but I try to keep distance from my habits and confront the world from different aspects, something like exploring the new territories.

Caprice Superbike Sam Project SPpump Black Box Comi Project Batmobile Magic Chocolate Syrup ofHappiness

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The Caprice Super Bike

This is inspired by Goya's Caprices On the last days of autumn 2008 I was asked to be in Tehran University to be a head of an exciting project. Robert Sarkisian the professor of modeling workshop was aiming to take the process of education a step farther. He intended to train a group of talented and clever students, specially those who have talent in model making and offer them learn the design process so that they could learn the process of idea development from sketches to 3D models, learning such a process was so dear and inspiring to students. He asked me to help him as an assistant and conduct half of his students to make a full-scale model of a super bike; it was the first attempt of this kind in Iran. But that was not all; I should design this bike and prepare tape drawing while the students were being taught the basic techniques of clay modeling. From the first steps I was aware that my crucial duty is providing attractive atmosphere for all students and it is the only way I could meet satisfactory result. Before I joined to this team, the package had been selected by Sarkisian. I started to sketch (as a stylist and leader of project) and at the end of the first week, I came up with some themes and Sarkisian chose one of them. The second week was the time I developed selected idea and made some renders and in the third week the tape drawing had been completed. At the beginning of fourth week everything was ready for starting the clay modeling (along of these 3 weeks, students prepared everything that were needed, such as making and setting up the base and making a metal structure for the motor bike and etc). Henceforth we needed 16 weeks to complete a full scale model which had been done by 12 students of 5th term. At last we had a celebration and 2 day exhibition in Fine Art Faculty of Tehran University. The Caprice is an electric sport bike to produce a statement designed to intend to inspire future transportation world with a new way of getting inspiration and using new sources for new ideas. The Caprice comes from Goya's Caprice collection. I have tried to feel it and put that feeling into my design like many painters, writers and musicians which have got inspiration from novels, poetries, paintings and their sweethearts, why we do not do that?!

Project Date May 2009

This sketch from the definition of the overall figure of super bike, illustrates Sarkisian attempt before I joined to this project.

I chose Goya's Caprices to reveal me strong feeling of nightmare by inspiration. Using sentimental reminiscences of people to make a profound impression, was my aim.

/ The bases of my design were composed in these early sketches.

In the evolution of my imagination, it is evident that the critical step exists, which I transferred my feeling into the carefully shaped surfaces of motor bike; while I was aiming, my sentiment would be retained.

My willingness to explore radical ideas.

Three exploratory drawing show some of the ideas outlined by me in the early stages of the project. All emphasize character full line.

The sketch drawn before I start rendering. I had a difficult job of maintaining character full line while meeting project criteria.

The initial render shows evolvement and adaptation of exploratory drawings to the Caprice package.

The first round of design from rear three-quarter view, it did not seem to deliver the "cool" and progressive look of sport bike I expected.

Drawing of the side view illustrates nimble profile of Caprice.

Once the sty ling theme was distinctly defined, hence I started to work on the detail refinement.

The dynamic, sporty lines and also distinctive surfaces treatment in this render.

The volumes and general lines are already settled, but there remain a choice between different ideas for saddle and tail.

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Above, alternatives for the suspension cover and bottom, the solution selected at the end. A game of surfaces that produces a pleasingly twisted shape.

While I was making sketches, renders and tape drawing, my teammates prepared a basement, metal structure, bulk, etc which were needed for clay modeling (left and above).

Making the main surfaces of body, based on tape's coordinates. The initial step of clay modeling which students tasted blending art and architecture.

After4 weeks Caprice gradually found its overall figure, the silhouette is completed to be judged.

Also the majority of works were done by students, to completely finish intricate model, (above) I had to make some parts by myself.

The students at work on a 1:1 scale model, definitive model of Caprice super bike.

Robert Sarkisian, as project director, discuses with me launches of project and referred to some points about style, thanks to his commitment and proficiency, we met all the project's requirements.

To design every detail in harmony with the overall theme and consolidate all decisions I used these inspiring drawing.

Right, Sarkisian assess the progress of the project.

12 weeks after starting clay modeling, the overall shape is showing off but the forms of saddle and tail have not been frozen.

To make a decision about saddle trim I prepared several renders in Photo shop then tried to have the best one. The full-scale clay model during finishing touches, the last day before unveiling day.

We celebrated the completed project, thanks to birth and growth of the idea among us.

My dear teammates during the time of celebration.

Two days exhibition in Fine Art Faculty ofTehran University

This logo has been designed by Mani Keramati for Caprice Project.

We used this logo to produce special brooches and t shirt for unveiling day.

Six months later Tehran University asked me to design and make a stand for the Caprice.

The Sam Project

A design to arouse an emotional response Designing a new production model is the ultimate dream of every student who is interested in transportation design. But this job is very difficult, and could even be a nightmare. As a student who was studying Industrial Design in Iran, it was unbelievable to find this chance being taught about professional method of car design, specially clay modeling techniques, but at last I was so lucky to try it. Apparently only Robert Sarkisian seemed capable to grant such a dream. Fortunately in the last term of my education for the first time I met him as a professor of Project 9, the last project that I should pass before graduation. Working more than five months under Sarkisian supervision, it was the Sam Project which made him offer me a position as stylist in his studio of design, Arteco. The largest auto maker in the Middle East, Iran Khodro was aiming to make up its remarkable product. Business sense forced the company to seek for the innovations that possibly attract younger customers who wish to have the sporty look for their cars. It was in recognition of that factor that Iran Khodro invited Arteco to develop especial edition of Samand. They expected a convincing design job despite the given investment restriction. When the project started atArteco in the September of2007, the mission was clear: "create a tuning set that includes front and rear flaps and rocker panel" was Iran Khodro's directive to Arteco.

The original model ofSamand, launched in 2002.

That was what the company needed at least to do, after five years production of Samand. Work on the project began with feasibility study and then continued with a series of free-form sketches that had been transformed into eight renders which presented for our employer three weeks later. This exploratory phase gave rise to the three developed suggestions which were judged by Iran Khodro's management. Afterwards the couple of designs were chosen to be going in the right direction, and we had the starting point for the Sam Project. It was just a starting point and nothing more, because there is a clear difference between renders approved and the actual design development which had been completed four months later. The design of the flaps and rocker panel were finalized a week later and we needed two more weeks to have rough models illustrating two possible variations on them (identified as A and B) ready for inspection. The rough full scale model that was made of clay to check the overall dimensions and proportion was not satisfactory. Sarkisian, as a design director, wanted to know why we lost the sense of renders chosen by our client and to check it out we were asked to review our preceding steps. This solution helped us to amend our approach. At the end when the final decision was taken on the early October the vote went to the A suggestion and in January 2008 the design was frozen. It was in February which both the hard model and Sam Project were finished. Project Date

April2008

An exploratory sketch while I was thinking about the rear form treatment.

Eight preliminary drawing show some of the ideas outlined by me and my colleague, M.Keramati in the early stages of the project (page 27 to 30).

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SAM Design Project

Among all, A, E-1 and F were chosen to be developed in the next step.

The evolution of the preferred renders in the second round. We submitted three suggestions A, B and C for our client, aiming to give comprehensive facelift to the Samand.

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Above, in these two renderings of the front and rear flaps, note my emphasis on the vertical extension of the bumpers' upper part which provides heavy dynamic appearance.

The dynamic impression has been produced by using the front and rear diffusers, as the symbolic elements of the sports cars.

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SAM Design Project

At the end of this exploratory phase the A suggestion had been selected for the development and work could start on the next stage, fulfilling the management's demand for an innovative treatment in the hope of attracting the younger (or more youthfully -oriented) motorist to the brand.

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Henceforward I and Keramati had been working on own proposals, specified as A and B which culminated in the two rough clay models presented to the management four weeks later.

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SAM Design Project

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SAM Design Project

Below, prior to beginning the clay modeling phase we tried out some of our ideas by making them with the black cardboard.

In the initial exploratory phase we created an asymmetrical model with two styling hypotheses, one more conventional and the other with a sportier configuration.

Right, general manager M.Alipoor and studio chief designer R.sarkisian assess the rough model presented for the management approval.

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The rough models indicated the result failed to convince either the client or us (as the project's designers); consequently Sarkisian asked us to review previous stages to find out where we had gone wrong. Once more we considered all steps we had passed and worked on the last acceptable renders. The experiment proved Sarkisian right and we came up with something much more promising, it was G suggestion

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SAM Design Project

Three more ideas for the rocker panel (page 42 and 43).

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Above, four alternative designs for the rear flap, proposed during the development process.

Five ideas for the flap from rear three-quarter view (page 44 to 46).

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A rendering of the chosen design which already reveals the final proportions.

Above right, Sarkisian evaluate the accuracy of the surface by Zebra test. Above left , the definitive model under initial steps of construction.

In order to achieve satisfactory result we had to work very hard on the lines and the masses; in addition Sarkisian care and attention obliged us to redefine the model for several times.

Left, the final touches are added to the full-scale rocker panel model.

1 The final tape drawing as a reference of model & 2 The rear flap during the preliminary stages of development.

..... 3 M.Ahsant joined us as a molder and with a little help of us he did his job accurately. 4 I am using the tape to emphasize the shut line.

Below, the 1: 1 scale model at an advanced stage in the exterior development programme, from the clay model (under molding process) to the preproduction model.

Left, the final look in tape drawing proposing a design solution for the rear end. Above, we proposed two design variants for the fog lamp's cap; one for the original Samand's fog lamp and the other for the round fog lap.

From the project's album.

From the left, me; M.Keramati; M. ansari And

H.Asaclzade as a trainee in this project.

The final render of tuned Samand from the front three-quarter view.

A sportier and more youthful version ofSamand.

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The Sump Pump Project

Design story Profitability, efficiency and reliability are the foundations of brand loyalty in the heavy duty product sector and the key reason for choosing one model rather than another. However it does not mean that having identified these fundamental virtues, even the potential buyer of a work tool does not also start to think about aesthetic factors that go beyond the product's purely utilitarian mission. Regarding this factor Ab Hay at (an accredited corporation in water and sewage field) signed a contract with Industrial Design Group of Tehran University to help it developing the new generation of threesome of its products, aiming to have more presence in the Iranian market. This mutual agreement covered triple product design included Sump Pump, Water Jet (high pressure cleaning system) and Electro Fusion. These projects were introduced as a seniors' assignment. Then three groups of students had been formed to work under the direction ofYasaman Khodadade and Robert Sarkisian who guided the entire genesis and development work (I was in SP group with four other teammates). The SP project was launched in the February 2007 and in the preliminary orientation phase we scrutinized fundamental marketing factors like customer response to the previous generation and the competition from rival manufacturers due to necessity of obtaining accurate picture of customers. By March the first renderings were ready and once the design had been approved, it took another six weeks to produce developed design and 3D model which was completed in May. During design work the input of Ab Hayat managers played a vital part in our endeavours, helping us to achieve a perfect blend of aesthetic and functional excellence. In this part I just present my ideas and the final design which was selected among my suggestions. Project Date

May 2007

The existing generation ofAb Hayat's sump pumps.

First round of design, blending fantasy aesthetic and exposed engine details which proposes concoction of practical appearance and post modem embellishment trend; in addition a suggestion for adjustable chassis to fit with two offered engines.

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Boxy design which exudes practicality and efficiency.

Reel shape of bodywork to hug the hose.

An idea to unify pump and truck.

An adjustable package which offers two methods of canyin, towing or loading into pickup truck bed.

Below right, later we used this kind of reel to hold the hose.

The first design phase was not satisfactory and failed to convince Ab Hayat executives, so in the second round we came up with completely new ideas. Below, a nimble suspension system that provides more accessibility.

Below, the simple usage of hinges and latches to convince product restrictions, moreover it supplies more accessibility to engine. Right, a suggestion to absorb engine's shakes.

Extra box to contain crew's equipments; a solution which combines aesthetic and practicality.

Two more ideas for the equipment box.

Above, a new suggestion for holding the hose. Middle, an idea which is derived from carriage's folding head. Below, cheap and easy to use canvas cover.

These exploratory drawings show some of the ideas outlined to provide better accessibility for the sump pump.

Third round of design, after all, management of Ab Hay at chose the suggestion which we had proposed at first; hence we are asked to develop and fit it with the packages' hard-points.

Later we chose this motion and used the vacant reel's hole to place spare tire.

They asked us to cover the engine to protect it against sandstorms and other harsh situations.

This final render of the selected idea could not convince either Ab Hay at executives or the professors.

Below, this solution came to light when Sarkisian further suggested blending of two early sketches; this intuitive solution was confirmed by our client to be the consequence of functional philosophy.

3D model of Sump Pump, modeled by SolidWorks.

Two close-ups ofthe Sump pump, a room for spare tire and two embedded jacks which is adjustable in height. Apart from improved appearance this design dedicates more efficiency, better accessibility and more reliability.

Black

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Project

Black boxes are among most necessary, least glamorous devices in any locomotives. They work tirelessly around the clock to record all important data and helping drivers to navigate and have contact with other parts, yet their presence is ignored unless something goes wrong. In August 2009, Emad, a sub-brand under Raja (the govermnental organization for the railroad services) came to Arteco with a daunting question: How can a technically complex safety device like Black Box could be improved in its face and quality and maintain its effectiveness? Answer to this question needed digging deeply into the functional and emotional needs of users. Taking on the project, I faced a dense tangle of design challenges. First, the new device had to fit comfortably in the locomotive cockpit (with so many unchangeable hard-points) while still delivering outstanding performance. Safety concerns demanded the most durability, while production concerns demanded only sheet metal and cutting, bending or welding processes. Doing so with the unavoidable constraints of an established industry with the limited production volume (for the first phase five hundreds number) typical of sophisticated pieces of transportation safety technology is almost a "mission impossible". Yet technical constraints were tight, especially when reducing size and weight. Visually, it was a device that drivers and specialists needed to trust, so it had to convey durability and reliability in appearance as well as function. Achieving all these goals required more than three months and now our unique design approach is earning it positive reviews among drivers and experts and of course our client. More importantly, Black Box is succeeding in its fundamental goals of offering greater safety, more durability and better appearances as well as lower production cost. Project Date September 2009

The existing black box, it included remote

and main box.

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Some sketches from the first exploratory phase (from 75 to 77).

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Above, the selected suggestion; in this sketch remote and main box have complementary shapes.

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The first round of 3D modeling, with some modification to the package we remodeled the Black bOx.

Above, the rendering of the final design and full scale model under construction.

Studying the models of main box and remote.

The prototypes

Comi project Design story T375 currently is being produced by SAIPA-DIESEL Co. The origin of this truck is Chinese and SAIPA wanted to make a new face on it with a major face lift, including bumper outer, fenders, A-post lower parts, stirrup, bonnet, angle iron integrated into the front and added some features like, roof mounted spoiler and side protections. Robert Sarkisian my former boss (I worked in his studio more than two years) put me and M.Keramati in charge as stylists to prepare a proposal for SAIPA. Some contacts with SAIPA's R&D management revealed they need substantial change on the truck's fascia, because they were going to introduce this production with a new brand in Iranian's market. They wanted our design to look like a completely new model rather than the product of a simple restyling operation. So our mission was clear, we should disguise T375 appearance and had just one week to submit our proposal. Based on project's criteria and time's restriction we decided to make two suggestions for our client and of course we had series of constrain to consider before we start. Unfortunately SAIPA changed its own industrial investment plan, so the progress of this project was changed due to this change. I thought this project could be a challenging work, so I decided to continue this process to meet a convincing result. I put two aims for Comi project, first continuing design process to achieve fulfilling issue in a defined time and second, studying diverse stiles of marker's usage as a rendering tool. I have tried to consider various attitude of using marker in a practical approach. Project Date January 2010

Two renders of the front three-quarter view, submitted as a proposal to SAIPADISELE show some possible alternations for the truck's fascia.

A design for the front, on which the grille forms the visual link between top and bottom and helps to create a tapered effect.

The new face of the T375, as it appears in this render I was aiming for a character full but not aggressive look.

Wraparound dark gray plastic bumper consolidated with stirrup and fender and exposed angle iron integrated into the front to compose identical and distinctive face.

Thanks to reversed V-shaped radiator grille, new lighting clusters, eliminated angle iron integrated into the front and especially different color's trim, T375 celebrates new identity

New bumper with triple fog lamps and a large air intake to emphasize the power. The surfaces including the removable trailer assembly were designed to create the impression of an uninterrupted flow, which also benefits aerodynamic efficiency.

As you have considered I came up with six suggestions. Robert Sarkisian (as a consultant) selected two he liked and I put them as a basis to produce a perfect blend of aesthetic and functional excellence. This is the seventh render

t The last render of designated Idea.

Batmobile

Design story The story of designing this car started three years ago, when I was reading an article which stated how new standards of pedestrian impacts lead us to more convexity in hood and convex surfaces, especially their grilles (like camry 2007). I decided not to pay attention to this trend and I chose opposite direction, so I tried to design a supercar with an evident concave surface in its front end. The first sketches showed a clear concave fascia with one blade in each side. This preliminary sketches sounded impressive and my drawing teacher encouraged me to complete my design. During my search to develop such an idea, I found it difficult to make concordant shape for both front and rear end so for the time being I left it away and put this sketch in my portfolio. After watching the last generation of Batman's film I found my idea potent to use as a basis to design a car for him. But my problem was still remained, how the rear end of such a car should be? I decided to solve the problem in a very odd way. Instead of drawing a lot of sketches to reach a good solution, I decided to follow Chinese brush paintings' approach, so I stuck some of my preliminary sketches in my room to see them every day and provide a good atmosphere to focus on this subject. Fortunately my strategy worked and after some days I meet my answer. I knew my idea was not mature so I tried to make some renders from various views, and develop my idea and its details as well as its basis.

Project Date

August 2009

Sometimes as a designer you reach an excellent idea while you do not know how it comes? It comes from very far and vague territories. Maybe you find it resembles another thing which is very obvious. I am not aware how this idea was born but after studying it, I found it like eagle's claw.

It is the first sketch that shows the idea for front view of Batmobile. Four blades, an obvious concave surface as a crown that gifts agile appearance to this car and at last

four triangular head light. Using double head light in each side has some references in car's history

The most important view that reveals overall shape of bodywork and relation between front and rear end to concoct riotous sense. Consider the play of convex and concave surfaces, together with the ribbing along the side, especially connection between front and rear wheel fare.

Imagine its green house like an overall shape of a bubble glass, and then covered part of it with canvas as a roof dome. The convex surface of front windshield converts to clear concave surface of bonnet and it shows a unique statement has ever been.

To come up with a new concept and idea for rear end "from a white sheet" I tried to forget any supercar that I have ever seen. I knew how to make a balance between front and rear volume. I needed rough and tough and especially a cool form. Exaggerated blades (as a huge diffuser) and exhausts are consequences of this consideration.

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In this render I added triple blades as an air vent above the character line which was inspired by shark's gill.

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An exaggerated and aggressive view of Batman's car, especially created by four protrude ribbings.

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Consider how the surface of haunch and trunk intersect and provides the space for tail-light. Meanwhile, the way concave rear wheel flare is continuing to shape protrude tail pipe have been shown.

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In this render I tried to figure out how the surfaces in the side view meet together and shape profile view. I tried to avoid complex surface treatment without clear relationship. In addition considering preceding renders, the form of front air intake has been developed.

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Magic Chocolate

We are being brought to a very sweet result where the soul of Sufi tradition in Persian architecture overlaps with the soul of the target consumers. Foundation of modem visual arts sounds different from Iranian arts; while Western is based on the point and its motion through the space to create line (perhaps the most fundamental element of design), shapes and masses; Iranian artists had different conceptions so that it demonstrates the synthesis ofPersian thought and form. The most essential principle of Sufism, the inner, esoteric dimension of Islam, is that unity in multiplicity. This view sees in every aspect of reality a reflection of transcendent source which is given symbolic expression through all of man's activities, most directly and importantly through his works of art. Based on this notion the first and simplest unit, the point, is the center of the world, the symbol of God and the source of all. Then by association of all points with the same distance from the center the token of meditation and the ultimate of control appears, it's the circle. Afterwards other geometrical shapes are formed on the basis of circle to construct and explain paradisal world, a world based on geometry. These are the insights of Iranian cultural tradition, the stimulating way of thinking about man and his relationship to his milieu where we can find excellent examples of architecture and tile art. The Muslim artist used the contribution of geometry to create a stable world (because his art is about intellectuality, about God) while the western visual arts consider the concept of motion as the basis to develop the construction due to its materialistic aspect. I used this traditional idea to design a product line that helps families share favorite flavors and happiness.

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Magic Chocolate can tum eating into deeply personal experiences, transforming our relationships with gaming. More than any other food products Magic Chocolate is the standard bearer of transformation, and can play as a primary family connector. Of course this design solution isn't really about pleasant flavor or gaming, it is about creating something that makes sense in the daily lives of family. By fitting seamlessly into the situations that make up partnership, Magic Chocolate is redefining what chocolate means for families, and giving a simple way to share and make memories. Project Date

January 2007

I transferred 2D geometrical formulation ofIranian tile art into 3D and created a simple module which could be used repeatedly in such a way that fills all space without any vacancy.

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Not just as a classical chocolate gift this design provides enormously composition which gives you this chance to play and create new one.

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Below, unlike other chocolate gifts, elimination of some pieces causes new exciting configurations. Left, my inspiration source for presentation.

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Syrup of Happiness Drink to dream What happens if one day you drink magical syrup and become lucky?! Children live in two parallel worlds, a world of dreams and a real one. Peering into their daily home life, I found situations that aren't on the map for many brands. If I could design a product line that helped children link these two territories, listen to a story, and then find some magical clues in the real my design could achieve something great (in the story books, animations or fairy tales child meets things and events that could not be actually existed in the real world, it's a contradictory experience). I was looking for a new pathway to innovation and a new story that children would consider distinctly. I had to create an entirely new product category rather than restyling existing ones. Instead of focusing on package or the quality of flavor I designed a new food product category (based on Harry Potter stories) called the Syrup of Happiness that also happened to offer toy-grade functionality. To do all this, it needed to be familiar, intuitive and magical enough to convince children to covet it. Of course this didn't mean designing the first food product based on the popular stories. There are already plenty of food products, with bright primary colors and wonderful tastes, but Syrup of Happiness needed more magical and less sensible, that could link dream and reality in the whole of children life. Taken together, these suggest a design principle that modem children sorely lack: childish reality. There are plenty of offerings at the aesthetic and flavor extremes-for toys, food products, story books or animations-but the middle ground sits strangely empty. And it's wonderfully fertile ground. What grew out of it was a line of potentially enormous products (regarding popular story books, animations or DVD games in each time) that share a dreamy, magical appearance, a bit of play and some thoughtful, family-friendly details. On the other hand this design does not just belong to children, it could be a charming experience for everyone who aims to use his senses in a new way, to stimulate dream, to create mysterious world in his mind and then find parts of it in the real. This opens up a huge opportunity for the food product market. Project Date January 2007

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Believe me, this magical syrup have been produced by Harry Potter and his friends .

Help your child believe his stories.

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Every door was there to be opened Every window to be peered into.